Africa music reviews

I don't know why this CD is not better known. It has wonderful gutsy vocals and the acoustic band is a powerhouse. It's both energizing and soothing at the same time. For one of the best examples of the "new" traditionalism in Malian music, you can't do better than this!

Great Music, if you are a fan of Fela than this is the cd for you. Pure afro-beat at it's best. Fela plays sax and electric piano on all four tracks. Two tracks have lyrics and two are instramentals.

i like soul brothers music. i wish to get all albums by the them

If you've ever seen "Baba" live, the beginning of JJD will bring back memories of him strutting on the stage, those abbreviated footwork routines, stopping to ask - "Everybody say yeah yeah!". The conga work by Kofi Oladeinde was "heavy". The album also contains "Dog Eat Dog" one of the finest instrumental tracks by Fela. Oh ... just go ahead and get it.

By the way, this release is a re-master of the original (good recording quality) and is licensed from the Fela Anikulapo Kuti Estate.

This fellow was one of the architects of the West African Juju style, which was later championed by folks like Ebenezer Obey and King Sunny Ade... but here is where it started, with the vigorous, exhuberant early '60s singles of one of Nigeria's great modern musicians. Notable innovations: the use of the accordion as a lead instrument, and the rough beginnings of the lushly melodic "juju" guitar style. Besides, when Original Music label founder John Storm Roberts says in the liner notes that Dairo's song "Omo Lanke" (track 22) is the song that turned him on to African pop, well... let me tell you, I'd sit up and take notice. A great collection which doesn't skimp on either song quality or quantity. Out of print, but well worth looking for.

The Soul Brothers had been producing hits in South Africa for twenty years before they brought out this album, and this shows in the measured composure of their sound. Their compositions are based on an infectious formula which they tend to stick to, but that doesn't take anything away from the appeal of the album. What stands out is the original use of the Hammond organ by Moses Ngwenya, and perhaps one of the mellowist horn sections on the continent (Thomas Phale & Javas Magubane). Mix these with a driving bass and rippling guitar lines to underpin the harmonious vocals and its easy to see why they're such an enduring favourite in the townships. Check out AMAPHUTHA (track 5), to sample the exquisite poise of this soulful group. And don't forget to heed the lyrics of UTSHWALA (TRACK 8):"Stop getting drunk because you mess around with other people's wives and get into trouble". Solid advice; solid music...

Shimita El Diego delivers a K.O. Knockout! This album is called "Knockout", or K.O. for short, not "Ko". By any name, this is a new departure for Nene Tchaku on lead guitar and Shimita El Diego, known as Affro-Muzika. Bongo Wende, Tocha Fulakande, do other guitar work (bass, other lead) with Papy Luage on animation; Bopol guests on one song too, the ballad "Nzambe Lamuka" (Wake Up, God, hear my prayer) with "son" style tres guitar. Nigerian/Ghanian aFroBeat medley 12 minutes opens up the set, followed by "Knockout" AfroBEat also. "I'm So Sorry" in English and Lingala is romantic but with a "Daytripper" riff. "Sokoto" is a Nigerian city and name of a dance number, the 4th song. "Showtime" is a dance tune with MFSB funk overtones. Finish is "Maloba" & then "Illusion" which are somewhat romantic also but of course have animations for ndombolo/sebene endings and lots of guitar runs like George Benson or Wes Montgomery. Nice, not too wild, with Shimita's usual sweet vocals and Nene's steady beats, nice bass too; sophistcated but with an honest not-over-produced, not slick edge; just right. "Nzambe Lamuka" is a gem. "Sokoto" is good dance music. PS: Mr Energy is back, aka the Godfather of Congolese Soul!!

If you like Senegal's Baaba Maal's acoustic outings, then you will love this CD. The Guinean Kante Manfila is one of the lesser known giants of African music. Few can play guitar with as much tenderness, sweetness and passion. His vocals are equally charming and moving. The music gently rocks and the whole recording has the sound of overhearing some really talented friends jamming on your front porch. A wonderful performance by a superbly gifted artist. GET IT!

The main review compares this to the Buena Vista Social Club. I can see why they are pitching to that crowd, but this music is completely different. I like Ry Cooder and all, but I didn't care for the BVSC (it was well - boring). (I haven't watched the BVSC video, though.)

Mabulu, on the other hand is African and polyrhythmic at it's core, infused with modern electric sounds and vocals (+some great rap). While the description in the review of the evolution of the music is probably technically accurate, the only similarities I've found to the BVSC is that you can detect latin roots in the music and that Mabulu is perhaps the best example from an entire regional music scene that is internationally underappreciated.

Bottom line: listen to the clips even if you thought the Buena Vista Social Club stank.

Neba Solo's brand of music is nothing like typical Afropop, and scarcely resembles music of his Malian compatriots like Salif Keita, Habib Koite or Oumou Sangare. His band uses no electrified instruments, no special effects, no horn sections, no background vocals. Everything is played with two instruments called balafons (a traditional African xylophone) and three to four percussion instruments (gourd drums, scrapers, etc).

If this all sounds very old-fashioned and "traditional," think again. Solo (his real name is Souleymane Traore) has modernized the balafon-playing style that his Senoufo people have carried on for generations, making it more driving and melodic. And the balafon, usually relegated to playing accompaniment in typical African pop songs, comes into its own as an amazing solo instrument.

Neba Solo sings beautifully too, and has a knack for combining catchy refrains with rhythms that are 100 percent danceable. This isn't a departure from tradition: Senoufo balafon playing is generally meant to accompany dancing, and Solo's music is no exception. His songs are lengthy, some of them upwards of 10 minutes, and this allows the musicians to sustain trance-like grooves for several minutes. Listen for the moments toward the end of songs like "Cinporoko Nonougoro" when the drums kick into high gear, the tempo picks up and the song goes into overdrive. This is dance music at its finest.

It's too bad, though, that European techno DJs haven't been able to harness the energy of Neba Solo's music. Frederic Galliano has tried (on both of his "frikyiwa" collections) to remix two of the songs featured on "Kene Balafons," but he wound up just getting in the way with his ambient noises and filter sweeps. If you want the full intensity of the new wave of Malian balafon music, go to the source--Neba Solo in his unadorned glory.